The MIT Years (Live Aid Episode)
by Takada Saiko
Summary: It's 1985. Tony Stark hijacks a Stark Industries plane to drag Rhodey to the Live Aid Concert, Howard and Peggy chase down an elusive former Hydra operative, and Daniel Sousa struggles with difficult news after retirement. Script format.
1. Act One

**ACT ONE**

**FADE IN:**

**INT. STARK INDUSTRIES LAB - DAY**

Close in on a set of hands working expertly on the innards of an engine. David Bowie blares over the loud speakers in the background as grease-covered fingers adjust around the tool on beat with the music.

TONY STARK (15) is focused in on his project. He's all dark hair and expressive eyes, small for his age and dressed in a pair of slacks and filthy white t-shirt that shows he's been at this for hours. STARK INDUSTRIES is stamped onto every flat surface available. He's at ease in his solitude. No restrictions, no expectations.

**SUPER: July 1985.**

Behind him, the doors to the lab slide open. Tony doesn't look up as he says -

TONY  
Don't turn down my music.

EDWIN JARVIS (late 60's) pauses mid-reach for the panel. He's poised, even when being ordered around by a teenager. The perfect British gentleman in his three-piece-suit. He turns it down anyway and the music fades truly to the background.

JARVIS  
You are aware of the time?

TONY  
The time means you've gotta turn down Bowie?

JARVIS  
It means that you're less than an hour away from your interview and look like a street urchin.

Tony looks offended, even as he examines his filthy hands.

TONY  
What's wrong with the way I look?

Jarvis' expression turns increasingly more horrified and Tony flashes a grin.

TONY (CONT'D)  
We're good, J. I have a change of clothes in the back and they expect a little grease on my hands by now.

JARVIS  
Of course, sir.

TONY  
Fifteen years in, I'm never gonna get you to call me Tony, am I?

JARVIS  
Not likely, sir.

Tony rolls his eyes dramatically, but he's grinning. He stands. Wipes his hands on a rag.

TONY  
Awesome. Let's go. Dad gonna meet us in the lobby?

Jarvis hesitates and his lack of response causes Tony to pause. He looks back, the mirth dissipating.

TONY (CONT'D)  
You've gotta be kidding me.

JARVIS  
Your father is a very busy man.

TONY  
Yeah. Right. Does he remember I'm here on a Friday afternoon because HE was the one that wanted to be involved?

He said we should have it here so he didn't miss it. His words. Remember those?

JARVIS  
Anthony...

TONY  
No way. You don't get to defend him, Jarvis. You know what? It doesn't matter. They're not his designs anyway.

I'm the one they're here to see. Just... tell them I'll be down in fifteen.

Jarvis watches him for a long moment before the dutiful -

JARVIS  
Of course, sir.

Tony starts towards the back of the labs, Jarvis watching him leave, his expression torn.

**INT. CARTER-SOUSA HOUSE - DAY**

A phone rings, echoing through a quaintly decorated home. Photos line the walls. Most are of a happy family, but we see a handful of others littered throughout with PEGGY CARTER and DANIEL SOUSA (varying ages) in military uniforms, and later working with the SSR and SHIELD. Mixed in is a photo from Daniel's retirement party. It's quiet, and for a moment it looks like no one is there to answer the persistent caller.

From the kitchen we hear -

DANIEL (O.C.)  
Peg? Can you get that?

No one answers him and the phone continues to ring.

DANIEL SOUSA (mid 60's) appears at the entrance to the kitchen, leaning heavily against his crutch as he moves through the hall and towards the phone. He's dressed casually, his dark hair streaked with grey, and he has a towel slung over his shoulder as if he's been cooking.

DANIEL (CONT'D)  
Peggy?

Still nothing. He picks up the phone.

DANIEL (CONT'D)  
Hello? Oh, hey there, Frank. How've you been?

The door opens down the hall, drawing Daniel's attention.

DANIEL (CONT'D)  
Yeah. One sec.  
(calling out)  
Peggy, phone!

An irritated sound comes from the door followed immediately by PEGGY CARTER (mid 60's) picking up speed. Put away are the suits and the heels for more casual wear. Her weekend started early. She waives the stack of mail in her hand.

PEGGY  
Mrs. Pickett had me cornered for half an hour this time. I swear, if she were an interrogator she'd break someone in a heartbeat.  
Daniel offers her the phone, amused.

DANIEL  
It's Frank.  
Peggy's exaggerated irritation shifts to something between worry and confusion as she takes the phone.

PEGGY  
Frank. What's happened?  
Daniel starts back to the kitchen, Peggy's voice following him as he hurries as best as his old war injury will allow to the stove. A pot is boiling over.

PEGGY (O.C.) (CONT'D)  
Are you certain?  
She follows as far as the kitchen entrance the long cord stretching behind her, and shoots him a questioning look at his culinary attempts. He waves her off.

PEGGY (CONT'D)  
Have you called Howard yet? I believe he's... Yes. Alright. I'll be in shortly.  
Daniel is still trying to salvage what could have been dinner when she returns from putting the phone back on its cradle. Peggy stops, the amusement radiating off of her, and

Daniel is doing his best to ignore it.

PEGGY (CONT'D)  
What's all this then?

DANIEL  
I thought I'd cook you dinner.

PEGGY  
That's sweet, but not worth burning the house down.

DANIEL  
That's been twenty years. You're never going to let me live that down, are you?

PEGGY  
I don't think so, no.

He finally cracks a smile before leaning against the counter.

DANIEL  
I take it from that conversation you're off to save the world?

PEGGY  
It seems that way.

DANIEL  
They can't go a day without you.

PEGGY  
Well, that would leave Howard Stark without supervision.

DANIEL  
We've all seen how that turns out.

PEGGY  
He's not so bad.

DANIEL  
In some ways he's grown up, in others... How's Tony lately?

Peggy meets his gaze. She knows he's making a point, and from the look that he gives her, he knows that she knows.

PEGGY  
It could be a late night, but I'll be back in time for lunch with Ray tomorrow.

DANIEL  
You're not going in yourself, are you?

PEGGY  
You know those days are long past.

DANIEL  
Good, because I can't... I wouldn't trust anyone else to watch your six.

PEGGY  
Nor would I.

She tips up on her toes and presses a kiss to his cheek.

**INT. STARK MANOR - EVENING**

The home is exquisite. Antiques hide pieces of tech that are well ahead of the time period, the floors are polished wood, and there's a staircase that winds upward like its reaching for the clouds.

A baby grand piano stands in one of the many rooms. It costs more than some make in a year. A woman sits at it, back straight, and fingers poised, but she doesn't play. Her eyes are closed as if she's listening to a melody in her head. Calming. We finally hear a few notes before -

The front door is slammed open, the sound reverberating through the house and MARIA STARK (50's) startles where she sits at the piano, her eyes popping open. Her fingers rest against the keys and she resumes playing as Tony blows through the room.

TONY  
Where's Howard?

His movements are explosive. Short and jerky, like he thinks he'll find his father hiding in a corner somewhere.

Maria's fingers continue against the keys, the melody steady against her son's agitated movements.

MARIA  
Your father's not here, dear. He was called out. How was the interview?

Tony slams to a stop.

TONY  
He was supposed to be there.

Her fingers finally still at that and there's a flash of indecision on her beautiful features. Tony is staring at her, young and vulnerable in the moment, and she makes a choice to protect her son over telling him the truth.

MARIA  
It was your interview. Your father had every faith that you would -

TONY  
Was it Rogers?

MARIA  
No.

Tony studies her, not immediately accepting the denial.

TONY  
What was it then?

Maria watches him in turn before releasing a small truth -

MARIA  
Work. It was work, but Tony, sweetie, you need to see it for what it was.

TONY  
I know where I land in his priorities.

MARIA  
(forcefully)  
It was faith. In you. This was your achievement. The focus should have been on you, not him or the company.

Tony isn't buying it.

TONY  
Sure. Right. Faith's what always keeps him away.

He grabs for the phone, dialing as he leaves the room.

MARIA  
Who are you calling?

Tony doesn't answer her.

**INT. RHODES HOUSE - GARAGE - NIGHT**

On the other side of the country, in Philadelphia, a garage is enclosed, not used for vehicles. A heavyweight bag hangs from the ceiling, a set of weights next to it. The walls are covered with photos and drawings of various aircrafts. Some are studies, and one or two may even be a design. Air Force paraphernalia is littered through it.

JAMES "RHODEY" RHODES (19, fit) is counting sit-up reps, his focus absolute.

RHODEY  
Ninety-six. Ninety-seven.

He doesn't stop as the door opens to the side and a teenage girl pokes her head in. His sister. ELIZABETH RHODES (13). Her glasses are almost as big as the bow in her hair.

ELIZABETH  
Jim, you've got a call.

RHODEY  
Ninety-nine. Busy, Liz. One hundred.

ELIZABETH  
It's Tony.

Rhodey looks irked, but stops and motions for the phone.

ELIZABETH (CONT'D)  
(to Tony)  
Talk later?

Rhodey's expression turns a little worried at the smile on his sister's face that must be from Tony's response. He's seen that look. It's never good. He waits until she's out the door before -

RHODEY  
Don't even think about it, Tones.

**INT. STARK MANOR - EVENING - INTERCUT**

Tony is lounging sideways in a chair.

TONY  
Think about what?

RHODEY  
Liz. She's off limits. And thirteen.

TONY  
What does that have to do with -?

RHODEY  
THIRTEEN, Tony.

Tony still doesn't get it, but he shrugs it off anyway.

TONY  
Not why I'm calling. I realized something.

RHODEY  
That you're running up a long-distance bill?

TONY  
That I don't know what kind of music you like.

That's not what Rhodey was expecting.

RHODEY  
What kind of...?

TONY  
Are you a blues kinda guy? Soul? I feel like I'd know if it was rock.

RHODEY  
I'm not really a big music guy.

Tony sits straight up in the chair so fast that he nearly falls out of it.

TONY  
No.

RHODEY  
Yes?

TONY  
We need to fix this. Clear your schedule. I'm coming to get you.

RHODEY  
When?

TONY  
Now.

RHODEY  
Tony, it'll be the middle of the night before you -

TONY  
So I'll take the fast plane. See you in a couple hours.

The line goes dead without so much as a goodbye and Rhodey stairs at the phone. Apparently Tony's coming to town.

**EXT. SHIELD HQ - PARKING LOT - NIGHT**

A shiny Cadillac squeals its tires as it pulls into a parking spot faster than it should. It comes to rest in front of what looks like a run-of-the-mill office building. HOWARD

STARK (late 60's) steps out. He's all business. Suit, briefcase, and stern expression. He starts towards the building.

**INT. SHIELD HQ - LOBBY - MOMENTS LATER**

Peggy Carter falls into step with Howard as he enters.

PEGGY  
I hardly thought you remembered how to drive yourself without Mr. Jarvis.

HOWARD  
I had Jarvis on something else this evening. What's the word on Wagner?

And just like that, Peggy's amusement is gone.

PEGGY  
We've heard from our people on the ground in Argentina. They have eyes on him.

HOWARD  
Are they sure it's him?

PEGGY  
Images came in from the satellite an hour ago. It's him.

Howard cracks a smile. It's small, more of a smirk, but it reaches his eyes. For just a moment he's thirty years old again, chatting up Agent Carter.

HOWARD  
What'd I tell you about my satellite imaging?

PEGGY  
Yes, yes. It's very clear, Howard.

HOWARD  
You're welcome.

Peggy shakes her head.

PEGGY  
We need to get moving. The team's awaiting our orders and Wagner

is en route to meet with his Hydra contacts stowed away there. If he reaches them -

HOWARD  
It'll be a hell of a lot harder to bring him in.

PEGGY  
Exactly.

HOWARD  
Let's get the ball rolling then. Are the bigwigs on their way?

PEGGY  
They should be here by the time we're ready to breach.

They push through a set of doors and into a War Room.

**EXT. PHILADELPHIA INTERNATIONAL AIRPORT - NIGHT**

It's the dead of night. The runway is lit up, but there's no movement, most of the flights are in for the night. Rhodey stands to the side with an airport employee who doesn't look any more excited to be out there than he is. Rhodey looks down at his watch. Just after 1AM. He needs sleep.

A sleek, private jet touches down on the runway and rolls to a stop. Stairs fold out. A moment passes, then another, before Tony finally pokes his head out. He shouldn't look that impatient. Rhodey's the one that's been waiting.

Impatience shifts to confusion.

TONY  
Where's your stuff?

RHODEY  
What stuff?

TONY  
Your... bag? You know what, never mind. No biggie. C'mon.

Rhodey is the one that's confused now.

RHODEY  
You said we were going to the rock concert.

TONY  
Right. Live Aid.

RHODEY  
That's tomorrow. JFK Stadium. Don't look at me like that. I know things.

TONY  
No no no. Not the one here. Why would we go to the one here?

If that's not a rhetorical question, Rhodey doesn't know the answer to it. Tony motions and then disappears into the plane. Rhodey waits a beat before following.

**INT. STARK INDUSTRIES JET - NIGHT**

They're airborne and the boys are kicked back. Tony is finishing up an animated story and Rhodey looks much more relaxed than we last saw him.

RHODEY  
When did you decide we were going to London anyway?

TONY  
This evening.

Rhodey shakes his head, amused.

RHODEY  
I've never been to England. Never even been out of the country.

TONY  
Don't worry. I'll show you around.

RHODEY  
The life of Tony Stark. You wanna hop a plane and fly halfway around the world, so you do.

TONY  
And now you get to go too.

RHODEY  
It's wild, but... even you're not that impulsive. Why're we going?

Tony's smile is a little more forced as the question weighs between them, but an alarm sounds from the front, drawing their attention. Tony stands.

RHODEY (CONT'D)  
What's that?

TONY  
Not sure. Sit tight.

**INT. STARK INDUSTRIES LEARJET - COCKPIT - CONTINUOUS**

Tony enters the cockpit. It's empty, the controls all automated. He moves to where the alarm is originating from and flips a switch. We hear a voice over the communication system -

CONTROLLER (O.C.)

Ground Control to SI-niner-alpha-charlie. You are not cleared to leave US airspace. We're taking control of the plane to -

TONY  
Like hell you are.

He slides into the pilot's seat.

CONTROLLER (O.C.)  
Mr. Stark, I've been instructed to turn you around. Mr. Stark?

Tony doesn't answer. Instead his hands fly expertly over the controls.

TONY  
You know what? If you can take control back from me, you can turn us around.

He cuts communication as he continues to override Stark Industry's control center.

**END ACT ONE**

* * *

**Notes**: A bit late on posting, but this was my Nanowrimo project this year. I was trying to see if I could go from the beginning (plotpoints) to a first draft of a script in 30 days. The cool thing is that it worked! I even had some time to polish it during the month.

This story was born out of various conversations about teenage Tony, Howard, and the realization that slapped me across the face one day that Tony Stark would have been fifteen when Live Aid took place. Of COURSE he was there.

For some context, this story takes place in the middle of the first season of a series that's been forming up inside my brain about Tony and Rhodey in their years at MIT. This particular episode takes place in the summer after that first year and would either be a mid-season or season finale. In other words, I should already apologize for the cliffhanger at the end of it. Maybe someday I'll have built my writing credits well enough that Disney/Marvel would give me more than the cold shoulder when I try to pitch the idea. For now it's just all in good fun. Maybe someday. Who knows. That's always the writer's dream.

**Next Time**: Tony and Rhodey run into some trouble in England while Howard and Peggy are stuck watching field agents from a command center.


	2. Act Two

**ACT TWO**

**INT. STARK INDUSTRIES PLANE - NIGHT**

Rhodey sits alone in the main cabin, looking just a little bit forgotten. He shifts uncomfortably, glancing up towards the cockpit.  
Muffled, exasperated shouts sound from behind the closed door and Rhodey's expression becomes increasingly more and more worried. He stands, moving towards it and knocks.

RHODEY  
Tony? You okay in there?

TONY  
Son of a - Got you!

That does nothing to put Rhodey at ease and he pushes the door open to find -

**INT. STARK INDUSTRIES PLANE - COCKPIT - CONTINUOUS**

Tony sits in the pilot's chair, headset on and alone save for Rhodey. He looks back, his expression startled and he tugs the headset off.

TONY  
Hey, Rhodey.

Rhodey gives the cockpit a quick once-over.

RHODEY  
You toss the pilot out?

TONY  
Huh? What? No. It was always automated.

RHODEY  
I was... yeah. Got that. Never mind. What was the alarm for?

Tony hesitates before turning back to the controls.

TONY  
They didn't want me overriding the autopilot.

RHODEY  
So, naturally, the alarm went off BEFORE you came up here to override the autopilot.

Tony realizes that he's been caught in the lie and we see his expression shift rapidly. The panic is quickly covered by a mask of confidence that slips into place.

TONY  
You wanna fly?

RHODEY  
This?

TONY  
No, the other plane I have hidden away with the luggage. Yes, this.

Rhodey watches him a moment. He's changing the topic. They both know it, but the incentive to forget is a good one. Rhodey takes a seat and both he and Tony fit the headsets on. A slow smile takes hold.

Tony risks a glance over at him.

TONY (CONT'D)  
This one's one of the upgraded models with the enhanced fuel systems I was working on first semester. Remember?

RHODEY  
Seriously? It went into production that fast?

TONY  
Well, not for purchase.

RHODEY  
We're both going to die, aren't we?

TONY  
What? No. It's safe.

RHODEY  
We're going to crash half way to London.

TONY  
Where's your faith, Rhodes?

Rhodey grins at him and Tony mirrors it, relaxing.

RHODEY  
Handles a whole lot smoother than the piece of crap I've been learning in.

TONY  
Speed tops out faster than the Concord too. Must be a Stark plane.

RHODEY  
You know you'll have to tell me eventually, right?

TONY  
You saw the engine designs.

RHODEY  
Not that. I mean what's really going on with you.

Tony pauses, startled by the words. Then -

TONY  
Yeah... I know.

They continue flying in silence.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

Military brass enter the ops center, drawing Peggy and Howard's attention. The set up is state-of-the-art for 1985. One of the techs is struggling with the equipment and Howard moves directly to him. A few quick clicks and the cluster of large screens against the wall jump to life with satellite images, maps, and various pieces of intel.

Peggy crosses to stand in front of the long table. She's the only woman in a room full of men in suits and military uniforms. Nothing new there. She commands their attention.

PEGGY  
Thank you for coming. I know it's late, but this operation is a long time in the making.

**EXT. LUTON AIRPORT, ENGLAND - DAY**

A succession of images:

The wheels of the Stark plane touchdown on the runway.

The door is opened and the stairs curl out from the doorway.

Tony and Rhodey exit and are greeted by a pretty English woman. Blonde. Chipper. She's employed by the airport if her uniform is anything to go by. Her name tag says MANDY and the surprise at seeing two teenage boys instead of Howard Stark is masked almost immediately.

MANDY  
I trust you had a good trip.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

An image is displayed on one of the screens: a young man in a nazi uniform. He's all pale hair and pale eyes. Despite his youth, there's a hardness in his gaze. The Hydra pin is proudly displayed on his lapel.

PEGGY  
SHIELD has had a number of Hydra officials on our radar for some time. One of those is Heinrich Wagner.

He worked under Schmidt to conduct a number of truly horrifying human experiments during the War.

A four star general shoots her a disbelieving look.

GENERAL STRIKER  
We know who he is. You're telling us you found him? That's a tiny needle in one hell of a haystack.

PEGGY  
I never said it was easy.

**INT. LUTON AIRPORT, ENGLAND - DAY**

Mandy escorts the two teenage boys through the airport.

TONY  
We need a car to take us to Wembley Stadium.

MANDY  
Of course, Mr. Stark. Anywhere you need to go. You'll just go through customs there,

they'll take a look at your passports, and we can call a driver for you when you're ready.

Tony flashes her an already charming grin.

TONY  
Thanks.

He doesn't realize until she's gone that Rhodey isn't moving forward with him.

TONY (CONT'D)  
You coming, Rhodey?

Rhodey mumbles something indistinctly.

TONY (CONT'D)  
Huh?

Only a little more clear this time -

RHODEY  
I don't have a passport.

Tony glances at the customs agent who is checking every person moving through his line.

TONY  
Oh.

RHODEY  
Yeah.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

The photo of a young Wagner is pushed to the background of the screen, replaced with photo surveillance of an older man, even if not a different one.

HOWARD  
Using newly developed surveillance technology we've been able to pinpoint Wagner's location.

Another military man - Tallert - shifts in his seat.

TALLERT  
And you know where he is now?

HOWARD  
Yes we do.

PEGGY  
Wagner has been living under an alias in Europe for years. Six months ago we received intel that he was reaching out to nazi contacts in Argentina.

Striker finally looks interested.

GENERAL STRIKER  
And you have eyes on him?

HOWARD  
Better than that. Our people have him cornered.

**INT. LUTON AIRPORT, ENGLAND - DAY**

Rhodey looks increasingly more nervous. Tony elbows him hard in the side.

TONY  
Don't look so panicked, platypus.

RHODEY  
They're not going to let me through. Tony, I'm sorry -

TONY  
It's fine.

RHODEY  
How is it fine?

TONY  
I got this.

Rhodey looks between him and the narrow path out.

RHODEY  
No way we can get past there without what they're looking for.

Tony studies the situation for a second before turning a confident look back on his friend.

TONY  
You trust me?

Rhodey doesn't look certain.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

The intel has been replaced with video feeds following operatives in.

GENERAL STRIKER  
How the hell are the feeds so clear?

HOWARD  
You're welcome.

TALLERT  
(to Peggy)  
Pays to have Stark onboard, doesn't it?

PEGGY  
Please don't encourage his ego. It's difficult enough to control as it is.

Through the feeds they see a back street in Buenos Aires. The military and SHIELD personnel watch as the team moves through. They find their man and in a rush of bullets and loud shouts, they engage.

**INT. LUTON AIRPORT, ENGLAND - DAY**

Tony starts AROUND the line. People shoot him judgmental looks as he passes around them and Rhodey hurries to follow.

TONY  
(to Rhodey, hushed)  
Whatever happens, just keep going.

Rhodey doesn't have time to argue as a guard steps forward.

GUARD  
Back of the line is over there.

Tony shoots him the most offended of offended looks and with all the sass of a billionaire's kid says -

TONY  
Do you know who I am?

**INT. SHIELD HQ - OPS CENTER - NIGHT**

Howard is leaned forward in his seat, watching the display with all the focus he has to give. Peggy takes a seat next to him, her expression a little more toned down, but her focus just as absolute.

On the screen we see operatives fighting. Wagner breaks loose, taking off down the alley and into a building.

An AID enters the Ops Center, glancing around nervously. He spots Howard and tries to gain his attention. Howard doesn't know that he exists, much less that he needs a word.

The aid moves closer, apologizing as he bumps awkwardly into someone.

AID  
(hushed)  
Sorry, sorry. Mr. Stark? I'm sorry. Mr. Stark?

**INT. LUTON AIRPORT, ENGLAND - DAY**

The guard is NOT amused.

GUARD  
I don't care who you are, young man. I need you to -

Tony whips out his passport, shoving it in the man's face. Rhodey starts to slip around, unnoticed.

TONY  
Stark. Like Stark Industries? You get the news over here right?

**INT. SHIELD HQ - OPS CENTER - NIGHT**

Howard shoots the aid an irate look as the mission plays out on the screens in front of everyone. They're chasing Wagner through the building, pushing civilians out as they go.

HOWARD  
I'm busy. Unless this has to do with the mission, I don't give a damn about -

AID  
Sir, it's your son.

That stops him, and even though his voice his hushed, worry creeps in.

HOWARD  
Tony? What happened?

AID  
He's taken one of your planes, sir.

And just like that, all the worry dissipates.

HOWARD  
That's it? It can wait.

AID  
He overrode the controls and took it into international waters, sir.

That pulls Howard's attention back up, and he looks confused.

Loud shouts come from the screen and heavy fire can be heard. It's an ambush. The SHIELD team is coming under attack.

**INT. LUTON AIRPORT, ENGLAND - DAY**

The guard is 100% done with Tony's antics.

GUARD  
I don't care who you are. Back of the line, you little -

From off camera we hear someone shout.

The Guard looks over and Tony realizes he's out of time.

TONY  
Right. Cool. Gotcha. Bye.

He darts off, motioning at Rhodey to GO.

**INT. SHIELD HQ - OPS CENTER - INTERCUT**

In LA - The crowd circled around the table watches in horror as the battle rages.

In England - Tony races towards the exit, Rhodey just in front of him. Guards chase in behind them.

In LA - The team breaks free, chasing Wagner. One operative with a camera attached to his uniform pushes through a door and we see Wagner. The man is cornered.

Regardless, he looks smug. There's a bright FLASH and the feeds go dead.

In England - The boys jump the security and reach the main portion of the airport. They fade into the crowd, the guards losing them in it.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

Everyone is silent for half a beat following the feeds dying.

GENERAL STRIKER  
What happened?

PEGGY  
We lost them.

GENERAL STRIKER  
Get them back.

**EXT. LUTON AIRPORT, ENGLAND - DAY**

Tony and Rhodey exit the airport to flag down a cab. They're happy. Laughing. Free.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

PEGGY  
I don't think you understand, General. They're gone.

TALLERT  
Gone?

HOWARD  
Dead.

PEGGY  
(softly)  
It was a trap. They knew we were coming. How could they have known?

Striker straightens.

GENERAL STRIKER  
They had you figured out. Obviously you have a breach in your security.

Howard bristles.

HOWARD  
Obviously, huh? Where the hell have you been when we -?

GENERAL STRIKER  
Doing my JOB, Stark. Which is all we asked you to do.

He stands.

GENERAL STRIKER (CONT'D)  
You and Carter clean up this mess or I'll be forced to shut your division down.

He and his people exit, leaving Howard, Peggy, and a very small handful of beaten down SHIELD management behind.

**INT. CAB - DAY**

Rhodey is halfway dozing in the back of the cab as Tony watches buildings pass by. They're in the city now and he practically has his face pressed to the glass.  
The cab pulls to the side of the road and stops.

CABBIE  
Out you go.

TONY  
What? This isn't the Wembley.

CABBIE  
Didn't pay me enough to get you to Wembley. That's another twenty blocks that way.

He points like that is somehow helpful and Tony crunches up his nose in disgust.

TONY  
C'mon, man. It's just a little further up.

CABBIE  
Not if you ain't got the quid to cover the fare.

TONY  
I've got a credit card?

The Cabbie snorts.

CABBIE  
Out, boys.

Tony frowns deeply before he smacks Rhodey, waking him.

TONY  
Up and at 'em, Sleeping Beauty. We're going for a walk.

RHODEY  
Huh?

TONY  
Up!

RHODEY  
I'm up, I'm up... Geez.

**EXT. LONDON STREET - DAY**

They're slugging their way through the crowds. Rhodey looks jet lagged and even Tony's excitement has been dampened by the fact that they're having to walk.

RHODEY  
Cab drivers in the US don't take credit, Tones. What made you think London drivers would?

TONY  
I don't know. I don't pay when I come over here.

RHODEY  
Let's be real, man. You're not paying now. We're still traveling on your old man's dime.

Tony bristles at that, hunkering down with rolled shoulders and crossed arms as they trudge forward.

Rhodey notices out of the corner of his eye.

RHODEY (CONT'D)  
Cool of him, though. My dad would have called it a waste of time if I'd asked him to foot the bill for a concert, even in town. I mean,

Howard's got his faults - plenty of them - but I guess take the wins where you can get them?

TONY  
He'd have to notice I was even gone first.

RHODEY  
Wait... you didn't... He doesn't know?

Tony shrugs.

TONY  
More like he doesn't care. It's fine. He owes me.

RHODEY  
What'd he do, Tony?

Tony perks, gaze focused on something ahead of them.

TONY  
Hey, that's it! C'mon!

He grabs Rhodey by the wrist and drags him forward. The older teen lets himself be pulled along, his expression resigned.

**INT. SHIELD HQ - OPS CENTER - NIGHT**

The room has been mostly cleared out, Howard and Peggy remaining. Reports are spread out across the long table where people had been seated just a few hours before. The SHIELD emblem is prominent against the folders, men and women's faces staring up from the open files.

Peggy paces the room, the cord on the phone threatening to tangle around her.

PEGGY  
Yes. Yes, I understand. Thank you for the update.

She ends the call and comes to stand next to a very tense Howard Stark.

HOWARD  
Another one?

PEGGY  
Gonzales.

HOWARD  
Dammit.

He jots a quick note on the file: **KIA, 13/07/1985**

PEGGY  
What did Adams want?

HOWARD  
Who's Adams?

PEGGY  
The aid that came in during the op. You looked worried.

HOWARD  
Oh.

Howard waves it off.

HOWARD (CONT'D)  
Tony's acting out.

PEGGY  
Acting out?

HOWARD  
You know how teenagers are. He managed to override our protocols and took a plane to London.

PEGGY  
Oh yes, a struggle every parent of a fifteen-year-old knows. Spontaneous international flights.

She watches him and he focuses on the file in front of him. Her tone is more serious as she asks -

PEGGY (CONT'D)  
Any idea why he'd do that?

HOWARD  
Who knows? He's in that stage where everything's about him, and if it's not, he wants it to be.

PEGGY  
He could be in trouble, Howard.

HOWARD  
He's not, Peg. Just rebellious, and right now these SHIELD agents need our attention.

Peggy sighs, taking a seat next to him.

PEGGY  
Wagner was supposed to be a key asset. If they were willing to kill him, they were protecting someone more important.

HOWARD  
My thoughts exactly.

He grabs for a tall stack of files. It's going to be a long night.

**EXT. WEMBLEY STADIUM - DAY**

The stadium is PACKED. People from every walk of life bounce in all direction, the energy matching the atmosphere. Rock music blares over the loud speakers, fans sing along, and there's plenty of booze to go around. Tony and Rhodey enter the stadium.

TONY  
So?

Rhodey looks around, taking everything in.

RHODEY  
I had my doubts.

TONY  
But? Pretty awesome, right?

Tony's grin just won't stop as he waits impatiently for Rhodey to agree with him. Rhodey's expression, carefully neutral, slowly cracks to show amusement just beneath.

RHODEY  
Yeah, Tony. This is pretty awesome.

Somehow Tony manages to grin even wider.

RHODEY (CONT'D)  
So, when does Madonna go on?

The grin disappears into a look of pure, unadulterated judgement.

TONY  
How are we friends?

Rhodey flashes a grin of his own as Sting takes the stage.

Not too far away, in the cover of the crowd of rock fans, a MAN stands looking just a little out of place. It's subtle, like he's trying to blend in but it's not quite his scene. His gaze is fixed on Tony and Rhodey for a long moment.

Then he moves, not too far away but just far enough that it's out of their line of sight if they should turn in his direction. He pulls a walkie talkie out of his pocket.

MAN  
Tell him I have eyes on the kid. Awaiting orders.

His gaze zeroes in on Tony.

**END ACT TWO**


	3. Act Three

**ACT THREE**

INT. SHIELD HQ - HOWARD'S OFFICE - DAY

The sound of birds that can be heard outside the office window is offset by the scratching of a pen. Howard is bent over his desk, scribbling and working. Empty paper coffee cups are scattered across the surface, some stacked inside of others to make room. He hasn't moved in hours.

On the office couch, Peggy startles awake. Papers that had been resting on her stomach are thrown wild at the sudden movement and she looks around.

PEGGY  
What time is it?

She doesn't receive a response and she sits all the way up, frustration rolling off of her in waves.

PEGGY (CONT'D)  
Howard, what time is it?

He finally glances up from his work.

HOWARD  
Huh?

She's already looking for a clock, but the office seems to be strangely devoid of timepieces.

PEGGY  
The time!

HOWARD  
I don't know...

Peggy looses an irritable growl as she snags the lone desk clock that was sitting directly in his line of sight if he'd bothered to look.

PEGGY  
Why didn't you wake me?

HOWARD  
Didn't realize you'd fallen asleep, Peg. What -?

PEGGY  
Forget it.

And she's storming out of the office, leaving Howard to sit and stare, confusion plastered across his face.

INT. SHIELD HQ - PEGGY'S OFFICE - DAY

Peggy bursts through the door of her own office and to the desk. She grabs for the phone and dials.

INT. CARTER-SOUSA HOUSEHOLD - DAY - INTERCUT

The phone begins to ring as Daniel is grabbing for his keys. He looks back at it, visibly weighing the effort it'd take to get back to it versus just leaving. He limps for the phone.

DANIEL  
Hello?

Peggy looses a relieved breath.

PEGGY  
Thank goodness. I didn't miss you.

DANIEL  
Only 'cause I'm running behind. I know you said it'd be late -

PEGGY  
I'm sorry.

His irritation slowly eases from his expression.

DANIEL  
It's alright. We've both been there over the years.

PEGGY  
It doesn't make it right.

DANIEL  
Maybe not, but I know you, Peg.

PEGGY  
I'm on my way. I can meet you.

DANIEL  
You've got enough to worry about.

PEGGY  
I told you I'd be there.

Daniel chuckles, his smile affectionate. If he's still irked with her, it doesn't show.

DANIEL  
It's just Ray. I don't even know he has the results in.

PEGGY  
Why else would he want to meet?

DANIEL  
Ouch. You think I don't have friends, Agent Carter?

Her expression finally lightens and she echoes his smile from the other side of the phone.

PEGGY  
Oh, people love you, Agent Sousa. Most of all me.

DANIEL  
And that's what matters. Don't work too hard.

PEGGY  
Tell me what he says?

DANIEL  
'Course. We don't keep secrets.

PEGGY  
Good man. I love you.

DANIEL  
You too.

The line goes dead on the other end and Peggy remains frozen for a long moment, the phone cradled to her ear. Her smile fades as the strain takes its place, echoing through every inch of her being.

EXT. WEMBLEY STADIUM - DAY

The crowd is going wild as FREDDY MERCURY of QUEEN crosses the stage and we hear the first notes lead into BOHEMIAN RHAPSODY.  
Rhodey pushes his way through the crowd, two beers in hand. He approaches Tony from behind.

RHODEY  
And here I am, enabling.

He hands him the beer and Tony takes it with only a mumbled thanks. He doesn't look nearly as happy as he should.

RHODEY (CONT'D)  
Isn't that your band? The one with the really weird songs?

Several fans around them shoot him the evil eye. Tony joins them. The judgement is real.

TONY  
Queen.

RHODEY  
Right.

A beat passes. Then another. The music continues and Rhodey shoots his friend a worried look.

RHODEY (CONT'D)  
You okay, man?

Tony takes a long drink from his beer, and when he's done his smile is forced.

TONY  
'Course. Why wouldn't I be?

An older and much taller, much bigger teen bumps Tony as he shifts by, spilling his beer. There's nothing intentionally aggressive about the motion. He doesn't even seem to notice Tony, but Tony's smile disappears in an instant. It's replaced by a scowl that has no place on such a small human.

Tony reaches out for the offender and grabs at the back of his tank top. Rhodey watches the scene with increased horror.

TEEN  
Hey, what gives?

TONY  
Watch where you're going, asshole.

TEEN  
What'dya say to me?

Rhodey takes a step forward, pulling Tony back as much as he can in the packed crowd.

RHODEY  
Tony.

TEEN  
This punk with you?

RHODEY  
He didn't mean it like that.

TONY  
Like hell I didn't!

RHODEY  
(forcefully, to Tony)  
Shut up.

The Teen looks Tony up and down.

TEEN  
I know you. You're all over the telly. Stark's kid. You gonna go home crying to daddy if I don't -

Tony pulls forward and launches himself at the Teen.

INT. SHIELD HQ - HOWARD'S OFFICE - DAY  
Howard's working away at his files when there's a knock at the door. He looks up, looking a little confused at the sight of his secretary. EDITH MCCALLUM (60's).

EDITH  
Call for you, Mr. Stark.

HOWARD  
I'm busy.

EDITH  
Overseas call. From London?

HOWARD  
Marcus?

EDITH  
Yes sir. He sounded like you were expecting him.

HOWARD  
Yeah. Patch him through.

EXT. LONDON STREET - OUTSIDE WEMBLEY - DAY - INTERCUT

The MAN that had been watching Tony and Rhodey earlier stands at a public phone, a cigarette between his lips, and he's glancing around. This is MARCUS (40's). Tough. British. SHIELD.

MARCUS  
Stark?

Howard adjusts the phone in his grip.

HOWARD  
Yeah. You find them?

MARCUS  
You were right, sir. They're at the concert.

HOWARD  
They see you?

MARCUS  
'Course not.

HOWARD  
Make sure it stays that way.

MARCUS  
You just want me to keep them out of trouble, sir?

Howard leans back in his chair, pinching the bridge of his nose.

HOWARD  
Rhodes is with him?

MARCUS  
Yeah.

HOWARD  
Tony's safe. Rhodey won't let anything happen to him. No... I need you to make sure their flight out is re-routed through New York.

MARCUS  
New York? Why?

Off Howard's grave expression.

EXT. WEMBLEY STADIUM - DAY

Tony's blow pushes the Teen back, but between the crowd around them and the weight that the older boy has on him, he doesn't go far. Instead he just gets angry.  
The Teen swings back, his fist colliding with Tony's face and whipping his head around violently. He stumbles back and into a pair of fans that look only mildly concerned.  
Rhodey stares wide-eyed as the Teen comes back around, ready to put a privileged American into the floor. Rhodey steps in front of Tony and raises his hands.

RHODEY  
Listen...

TEEN  
Get outta the way or I'll give ya a matching shiner to ya boyfriend's.

Tony's shaking it off, the beginnings of a black eye showing.

TONY  
MOVE, Rhodey. I've got this.

RHODEY  
You do NOT have this.

Tony looks offended and Rhodey barely gets his arms up to deflect the blow aimed at him, shoved back by it and into Tony.

Rhodey spins on him.

RHODEY (CONT'D)  
GO!

Tony takes off through the crowd, Rhodey dodging another blow and then following.

The Teen follows for a moment before it becomes more effort than it's worth. He throws his hands up.

TEEN  
Yeah! You run, ya little buggers!

We follow Tony and Rhodey pushing through the crowd. Tony, smaller than the majority of the people around them, is pushed and shoved in the throws of the concert, and Rhodey loses sight of him for a moment.

He stops.

RHODEY  
Tones?

Nothing.

RHODEY (CONT'D)  
TONY?

TONY (O.C.)  
(distantly)  
Rhodey!

Rhodey pushes through some of the crowd and spots Tony. He looks shaken now, like the realization finally hit him that he was about to have his ass handed to him. Rhodey reaches forward and grabs a handful of his t-shirt.

RHODEY  
You stick with me.

Tony nods emphatically, following close behind Rhodey and allowing him to push a path for them through the concert-goers.

EXT. LONDON STREET - OUTSIDE WEMBLEY - DAY

Rhodey half drags Tony out of the stadium, the crowds still pulsing around them. Tony's visibly trembling by this point, his breaths coming in shallow gasps and he's jumping at every new sound, eyes darting. The music can be heard from inside the stadium.

It takes a beat for Rhodey to realize that Tony's no longer behind him. He spins, finding the smaller teen standing in a small break in the crowd like he's found the eye of a storm.

The rush to get OUT rolls off of Rhodey's shoulders and he approaches Tony as gently as he can under the circumstances.

RHODEY  
Hey, man. You okay?

And just like that, Tony shakes himself from it. A carefree mask that no teen should ever have to fake slides back into place.

TONY  
Me? Sure. Always. Did you see that meathead, Rhodey? He was gonna -

RHODEY  
Beat you into the ground? Yeah. I caught that one. 'Bout like you caught his fist to your face.

Tony reaches up, his fingers exploring the discolored skin.

TONY  
Yeah, you know, it's just -

RHODEY  
Cut the crap. What's going on?

TONY  
With what?

RHODEY  
I've asked you too many times already. This time I'm getting an answer.

Why? Why'd we hop on a jet and fly halfway around the world? What were you running from?

Tony looks like he's going to argue again, but Rhodey locks a glare that causes him to take a physical step back, raising his hands in the air in mock surrender.

TONY  
I just really needed to get away.

RHODEY  
Why?

Tony refuses to meet Rhodey's eyes, his gaze finding ANYWHERE else to shift to.

TONY  
I don't know, man... There's just a lot of pressure sometimes. Everybody wants something, and I'm just supposed to...

RHODEY  
(gently)  
To what, Tony?

TONY  
To do it. Whatever "it" is. Even if they don't live up to their end.

RHODEY  
Your dad.

TONY  
I never said -

RHODEY  
You don't have to.

Tony finally looks at him.

TONY  
He doesn't even know I'm gone. Doesn't care.

RHODEY  
You don't know that.

TONY  
Sure I do. He'd have been pissed if he knew. Had people waiting at the airport or something.

RHODEY  
Are we gonna be good to fly back?

TONY  
Yeah. He's made it pretty clear he doesn't care.

Rhodey winces at that and reaches out. His movement is hesitant, but after a couple of failed attempts he grasps hold of Tony's shoulder and pulls him into the most awkward hug two teenage boys can share.

TONY (CONT'D)  
Rhodey?

RHODEY  
Right.

He lets him go, both teens putting some space between them.

Tony finally looks over, catching Rhodey's gaze.

TONY  
Thanks.

A slow smile pulls into place.

RHODEY  
Any time, Tones.

INT. SHIELD HQ - OPS CENTER - DAY

Peggy Carter sits at the long table. She's alone, sharing the room with the ghosts of the men that died in the operation that she was responsible for. The audio loops through desperate shouts and gunfire.

The door opens and she doesn't look up, instead closing her eyes to listen to it. The shouts come to an abrupt end with what sounds like it might be the beginning of an explosion and it loops back around.

Howard moves past her and pushes a button, silencing the audio without a word of his own.

Peggy sighs.

PEGGY  
Did you know that Daniel was meeting with Dr. Brown today?

HOWARD  
Raymond Brown? The Oncologist?

PEGGY  
The same.

HOWARD  
I'd forgotten you two were friends with him.

Peggy shoots him a look. He's giving her an out from sharing, she knows, and maybe he's doing it for his own benefit. Likely he's doing it for his own benefit, but it's not always about him, despite what he'd like to believe.

PEGGY  
I don't know which is worse: the fact that the operation failed so spectacularly or that,

despite that failure, I couldn't even make it home in time to support my husband.

HOWARD  
Did he get a bad report?

PEGGY  
Ray called yesterday morning and asked to meet Daniel for coffee today. I don't know what else it could be.

HOWARD  
Plenty of things, Peg.

PEGGY  
Says the man that conveniently ignores all of his own problems.

Howard visibly winces at that.

PEGGY (CONT'D)  
I'm sorry, I -

HOWARD  
No. No you're right. You usually are...

He takes a heavy seat.

HOWARD (CONT'D)  
Tony -

PEGGY  
He's a boy, Howard.

HOWARD  
Not anymore. He's fifteen. He's in college, with a hell of a lot better shot than I had. He has no idea what he's up against, though.

PEGGY  
And what is that exactly?

HOWARD  
They've built him up...

Howard's gaze is distant as he speaks and we see flashes in the form of photos taken. Most are flattering. Tony with his bots. His designs. His calculations that wow the public. They label him a genius, a prodigy. The future rests on Anthony Edward Stark.

HOWARD (CONT'D)  
...but now they're waiting on him to fail.

Peggy's expression softens.

PEGGY  
They're not your father, Howard.

HOWARD  
No. My old man skipped the build up and went straight to the tear down.

PEGGY  
And you?

HOWARD  
I... I've let it go too far.

INT. STARK INDUSTRIES PLANE - DAY

Tony and Rhodey are lounging in the main cabin as the automated voice calls out -

AUTO PILOT  
We are beginning our descent. Please take your seats and fasten your belts.

RHODEY  
Already?

TONY  
Guess so.

INT. SHIELD HQ - OPS CENTER - DAY - INTERCUT

HOWARD  
He stole a plane, Peg.

The wheel of the plane in question touch down.

PEGGY  
Your plane. To get your attention.

HOWARD  
Well he's got it.

The door to the plane opens as AIRPORT SECURITY swarm the exit. Tony and Rhodey starts out the door, startled by the reception.

PEGGY  
Howard, what did you do?

The security close in.

SECURITY GUARD #1  
Come out with your hands where we can see them.

HOWARD  
My son wanted my attention? He's got it. He's just not gonna like what he gets.

Zero in on Tony's shocked expression, Rhodey equally horrified behind him.

SECURITY GUARD #1  
You're under arrest.

**END ACT THREE**


	4. Act Four

**ACT FOUR**

INT. AIRPORT HOLDING ROOM #1 - EVENING

The room is bare and cold. The lights are too bright and there's no furniture. Tony paces the length of the room, nervous energy rolling off of him in waves. The moment he hits one end of the room he's turning sharply to barrel towards the other end.

He hasn't slept enough and it shows in the bags under his eyes and the twitchy movements. The shiner he received at the concert has darkened into a full-on black eye.  
Tony is alone.

INT. AIRPORT HOLDING ROOM #2 - EVENING

In another room sits Rhodey. There's a chair in this one, at least, but the lights are just as bright. He is sitting, leaned forward and exhausted. He runs his hands back along his shortly cropped hair before he stands. He crosses over to the door, trying to get a look out the small window.

Not a soul in sight. He looses a long breath and raps his knuckles against the thick door. No one responds. He pauses a long moment before turning back to his chair to wait.

INT. AIRPORT HOLDING ROOM #1 - EVENING

Tony lets out an angry, loud scream of frustration. He slams a fist against the locked door and shouts -

TONY  
Hey! You can't keep us here, man. We didn't DO anything!

There's movement in the hallway.

INT. AIRPORT HALLWAY - EVENING

A man in an ill-fitting security uniform and a file in his hand shuffles his way down the hall. If the boys look exhausted, somehow he takes it a few steps further. This is OFFICER PISANO (50's). He does NOT look like he wants to be dealing with this.

He puts a keycard the a door and buzzes himself into...

INT. AIRPORT HOLDING ROOM #2 - CONTINUOUS

Pisano enters the room and Rhodey straightens.

RHODEY  
Sir, I think there's been some sort of misunderstanding.

PISANO  
No misunderstanding, son. You boys stole a plane.

Rhodey shakes his head.

RHODEY  
We didn't steal a plane, sir. It's Tony's father's plane. Tony Stark? The scrawny kid you toted away? His dad is Howard Stark. He owns -

PISANO  
We know who he is.

RHODEY  
Then what are we still doing here?

PISANO  
Just because his daddy owns the plane doesn't mean he had permission to take it.

That plane is property of Stark Industries, and your friend Mr. Stark was told to turn it around. When he didn't -

RHODEY  
What do you mean he was told to turn it around?

PISANO  
We have logs that Stark Industries provided to us. Anthony Stark was told to turn the plane around and he said... oh, what was it?

He flips his file open and scans a moment.

PISANO (CONT'D)  
There it is. "If you can take control back from me, you can turn us around."

Rhodey stares at him and Pisano sizes him up.

PISANO (CONT'D)  
That's a quote. From the audio recordings. No getting 'round that. Question is, Mr. Rhodes, if you knew what was happening.

Rhodey straightens in his seat, meeting the officer's eyes.

RHODEY  
Of course I knew.

Pisano closes the file and holds the teen's gaze.

PISANO  
You've got quite a career mapped out for you, Mr. Rhodes, don't you? Military scholarship to MIT, 4.0 average.

That's a lot riding on the line for a charge like this, but you don't have the kind of protection that that kid has.

So, I'm gonna ask you again, and I want you to think long and hard 'bout your answer: Did you know?

Rhodey drags in a breath, determination etched into every crease that his brows make.

RHODEY  
I was with Tony the whole way.

PISANO  
You sayin' you knew?

RHODEY  
I knew.

EXT. LA COFFEE SHOP - DAY

Daniel Sousa sits and laughs with an older gentleman. He's well dressed, a summertime fedora on the tabletop in front of him. This is RAYMOND BROWN (late 60's). The doctor that Daniel was meeting with. He raises his cappuccino to his lips as Daniel continues mid-story.

DANIEL  
So we're all standing there, the poor boy staring at us like he was scared for his life -

RAYMOND  
An apt introduction to your family!

DANIEL  
Oh, it gets better. Peg's got her little snub-nose that she carries drawn and aimed directly at him.

RAYMOND  
I'll be damned.

DANIEL  
First boy Linda brings home from college and Peg pulls a gun on him. We're never gonna live it down.

RAYMOND  
At least you can say it wasn't you.

Daniel snorts into his own coffee.

DANIEL  
At least there's that. After the incident that happened when Charlie brought Deb home for the first time I couldn't afford another SNAFU.

The two men chuckle at that. After a long moment Daniel shifts, looking up to catch Raymond's gaze.

DANIEL (CONT'D)  
We've been over your kids, your grandkids, my two... Can't put it off any longer.

RAYMOND  
Daniel...

DANIEL  
Ray, I've known you since the war. You saw me at my lowest. Anything you've got now, I'll face it.

RAYMOND  
Just another mission, isn't it?

The doctor smirks just a little at Daniel's (feigned) confused look.

RAYMOND (CONT'D)  
Don't play dumb, Dan. I don't know exactly what you and Peggy got yourselves into after the war, but it looked like a hell of a lot of fun.

DANIEL  
Some days it was. What do you have for me, Doc?

Raymond only hesitates a moment before his resolution gives. He leans down into his bag and pulls out a file, sliding it across the table.

Daniel takes it, but doesn't open it immediately.

RAYMOND  
Take your time. I cleared the day.

For the first time, we see a hint of fear in Daniel's eyes.

INT. STARK MANOR - EVENING

Maria Stark paces anxiously through the spacious room, her nerves showing in every gesture. Quick steps, restless hands, and while we can't hear her heart beating we can't practically feel it.

The door opens out of view and she slams to a stop.

MARIA  
Howard?

No answer greets her and she takes off for the foyer, moving faster than her shoes were designed for.

Howard is already making his way into the den. He's dropped his briefcase off, tossed his suit jacket across the back of a chair, and is loosening his tie with one hand while he pours himself a drink with the other.

Maria looses a long breath.

MARIA (CONT'D)  
THERE you are. I've been calling. You never came home last night -

HOWARD  
I told you I was working.

MARIA  
Your secretary kept telling me you were in meetings, so I went to your office. You weren't there.

HOWARD  
Stark Industries isn't my only job, Maria, you know that.

MARIA  
I don't have a way to reach you there. I need a way to -

HOWARD  
No, you don't.

MARIA  
I did today.

Howard takes a long drink and practically falls into a waiting chair.

HOWARD  
Well here I am. What was so important that you're giving yourself a heart attack over it?

MARIA  
Tony's in trouble.

He looks mildly surprised at that.

HOWARD  
They called you?

And all at once Maria shifts from terrified mother to a woman that knows her husband far too well.

MARIA  
Why wouldn't they?

He waves the question off, tilting his glass back to drain it. Then he's on his feet, looking for a refill.

MARIA (CONT'D)  
Howard, what have you done?

HOWARD  
Why does everyone keep asking me that today?

MARIA  
Because you shouldn't be surprised that they called his mother when they arrested our fifteen-year-old son. Unless you told them to.

Howard massages the bridge of his nose.

HOWARD  
They shouldn't have called you.

MARIA  
So I've gathered. That brings us back around to the question: What did you do?

HOWARD  
Nothing that you need to -

She strikes out, sending the glass tumbling in a rare outburst.

MARIA  
You had our son arrested?!

HOWARD  
He's out of control, Maria.

MARIA  
So are you! So is this back and forth you two are in! All he wants is for you to SEE him, Howard, to -

HOWARD  
You and Peg get together to get your script straight, or do you both just think

I'm such a terrible father I need to be told how to raise my own damn kid?

Somehow, Maria's gaze manages to sharpen even more.

MARIA  
He's my son too, Howard. I get a say in how he's raised.

HOWARD  
You got the whole say for fifteen years and look where we are.

He realizes what he's said as soon as the words leave his lips and he regrets it.

HOWARD (CONT'D)  
Maria, I didn't mean -

She motions to the spilled drink on the floor.

MARIA  
How many of those did you have before you came home? You're always so much more honest with a few knocked back.

He stares, the words stuck in his throat as she storms off.

INT. AIRPORT HOLDING ROOM #1 - NIGHT

It's been hours. At least it looks like it's been hours by the way that Tony is sprawled out on his back in the middle of the room, eyes staring unblinking at the ceiling. There are no windows, so it's impossible to tell for sure.

It's bright, but loud. There are no voices or footsteps or slamming doors. There is the overwhelming buzzing sound that can only be coming from the florescent lights.  
Tony turns on the floor, curling on his side in an agitated movement. His breathing is speeding up and he looses a frustrated howl as he covers his ears.

The sound of his own heartbeat hammering in his chest can't quite drown out the buzzing of the lights, but it's trying. It speeds up, like it's trying to keep up.  
Without warning the door opens, shattering the escalating noise. Tony jolts to his feet in one swift motion and turns on Pisano, all of the anxiety channeled into anger now.

TONY  
Who the hell do you think you are?

Pisano shoots him an unimpressed look.

PISANO  
A guy that isn't paid enough to deal with spoiled brats like you.

TONY  
Yeah, well, when I get my call you won't have to worry about that. I'm gonna -

PISANO  
What are you gonna do, kid? Do you even know how much trouble your in?

TONY  
For WHAT?

PISANO  
You stole a plane. A very expensive plane.

Tony snorts.

TONY  
It was my dad's, which you'd know if you'd halfway done your job.

Like giving me my call. I'm a minor, asshole. You have to tell them where I am.

PISANO  
They know.

That catches Tony off guard. He wasn't expecting that. He forces confidence back into his voice.

TONY  
Great. So I guess Rhodey and I are free to go?

PISANO  
Unlike you, Mr. Rhodes isn't a minor. He's nineteen. He's been transferred.

The bravado cracks.

TONY  
Transferred?

We see a flash of a scene, Rhodey being cuffed and led to the door.

PISANO  
What do you think happens to normal teenagers who steal planes, Mr. Stark? Or anybody, for that matter.

TONY  
Rhodey didn't do anything.

PISANO  
He knew. And now he's gonna answer for it.

Another flash of a man meeting Rhodey and the guards at a door. He holds up a blindfold and Rhodey shoots him a questioning look.

TONY  
He didn't know ANYTHING.

PISANO  
Funny, he was adamant that he did. He seemed to think it would help you somehow. It won't.

Tony's moving then, but Pisano doesn't flinch as the teen comes at him. He doesn't take a swing, but his expression is torn between anger and overwhelming fear.

TONY  
He didn't KNOW! I did it. I overrode the controls. I ignored them. It's not his fault.

PISANO  
Oh, well then let's just call the transport on your say-so then.

Tony stares at him, shocked by the flippant tone.

TONY  
He didn't do anything. It's not fair.

PISANO  
World's not fair. If someone's not here to get you pretty quick, you won't be far behind him.

He turns, leaving a shocked Tony Stark in his wake, the door slamming closed behind him. The sound reverberates, fading into and blending with the return of the buzzing lights and echoes over to...

EXT. AIRPORT - NIGHT

A black car with darkly tinted windows drives through the airport. It approaches the gate, stopping at a guard station and the driver's window rolls down.

INT. CAR - NIGHT

The driver speaks indistinctly with the guard and Rhodey sits wedged between two security personnel, cuffed and blindfolded in the backseat of the car.

RHODEY  
Anybody going to tell me where you're taking me?

Silence meets him.

RHODEY (CONT'D)  
Right. Well, I mean, you're not cops, so who the hell are you people? Military?

Don't tell me Mr. Stark did this. He and Tony have a weird relationship, but even this is... extreme.

EXT. OUTSIDE THE CAR - NIGHT

Bright headlights of an approaching vehicle flash, drawing both the guard and the driver's attention as a Rolls Royce pulls up to the guard station.

The guard approaches, followed shortly by the driver.

INT. CAR - NIGHT

Rhodey listens carefully. The sounds are muffled, distant. There are voices, but he can't make anything out. The two guards that sit on either side of him are no better than statues, and the blindfold puts him at a distinct disadvantage.

The driver can be seen approaching from outside the car and he taps on the glass. Rhodey inclines his head as one of his guards rolls down the window closest to him. No words are exchanged, but the driver motions.

A staunchly British voice, its owner just out of the line of sight, protests loudly.

JARVIS  
What have you done? Why is he BLINDFOLDED? And are those HANDCUFFS? Bloody hell, man. He's a student, not a criminal.

One of the guards removes the blindfold and we finally get our first good view of both the DRIVER and Edwin Jarvis through the window.

DRIVER  
He stole a plane.

JARVIS  
Did he now? Is that the face of a hardened criminal to you?  
(to Rhodey)  
Mr. Rhodes, are you quite unharmed?

RHODEY  
Yeah. I'm good, Jarvis, but they have Tony.

JARVIS  
I'm well aware.  
(to the driver)  
Have your men uncuff him, or so help me I'll make a call that will end your career.

DRIVER  
Mr. Stark -

JARVIS  
No. Ms. Carter.

That finally draws a reaction as the driver stiffens. There's only a moment of hesitation before he motions. One of the guards inside begins to uncuff Rhodey.  
Jarvis shoots them an impatient look.

JARVIS (CONT'D)  
Well, I didn't fly cross-country to watch you sit around.

EXT. OUTSIDE THE CAR - NIGHT

The guard scoots out and Rhodey follows, looking him up and down as he does. That's it, buddy. Step right on back.

Jarvis looses a breath and looks to be just shy of enveloping Rhodey in a hug. He restrains himself.

JARVIS  
Thank goodness you're alright.

RHODEY  
Jarvis, what's going on?

Jarvis doesn't look like he wants to answer that. Instead, he motions to the car he arrived in.

JARVIS  
I can bring you up to speed on the way to collect young Mr. Stark.

The offer sounds more like a question, but Rhodey will take what he can get.

RHODEY  
Let's go get Tony.

**END ACT FOUR**


	5. Act Five

**ACT FIVE**

INT. AIRPORT HOLDING ROOM #1 - NIGHT

Tony's back on the floor. He's leaned against the far wall this time, knees drawn up and forehead resting against them. He looks worn, all the nervous energy washed out of him.

The door opens and he doesn't look up.

PISANO (O.C.)  
Stark.

TONY  
(not looking up)  
What?

PISANO  
Someone's here to pick you up.

Tony finally perks at that and the tiniest whisper escapes him -

TONY  
Dad?

Pisano doesn't confirm or deny, but Tony's on his feet then. All of the nervous energy is back. It's like it never left. He's on his toes as he follows the officer down the mostly-empty hallways and out into what looks like a lobby.

Howard Stark is nowhere to be seen.

Jarvis comes into view, though, and Tony's shoulders visibly sag at the sight of him.

TONY (CONT'D)  
(tiredly)  
Hey, J.

Jarvis offers a sad, understanding look.

JARVIS  
Hello, Tony.

Tony tries desperately for a smile.

TONY  
Look at that. Fifteen years in. Just took a felony.

He looks back to Pisano.

TONY (CONT'D)  
What is it? Grand-theft-aviation? I'm guessing that's a felony.

RHODEY (O.C.)  
Probably would be if your old man pressed charges.

Tony's head snaps to the side, following Rhodey's voice. For a moment, he can't find the words.

They slowly, awkwardly close the gap as they speak.

RHODEY (CONT'D)  
Look at that. Tony Stark. Speechless.

TONY  
They said they'd arrested you.

RHODEY  
Jarvis picked me up before they hauled me off to who-knows-where.

Tony nods, taking that in. He looks to Jarvis.

TONY  
We're good to go?

JARVIS  
Yes sir.

TONY  
Okay. Awesome. Good. We, uh, we can drop Rhodey off in -

RHODEY  
Don't worry about it.

TONY  
I'm not just gonna leave you to fend for yourself, Rhodey.

RHODEY  
You're not. It's my call.

Cracks in the forced confidence start to show.

TONY  
Why?

RHODEY  
It's an hour an a half bus ride from New York City to Philly. It'd take about that for us to get airborne and then back down. No reason to -

TONY  
It's not a big deal.

RHODEY  
Yeah it is.

Tony flinches at the snappy tone and Rhodey grimaces.

RHODEY (CONT'D)  
It's okay, Tones. I just... need time to think.

TONY  
About what?

RHODEY  
Man... everything that's happened the last... however many hours. I've lost count.

Tony looks like he's been physically struck.

TONY  
I didn't know he'd do it.

RHODEY  
I know. Hey? I know, Tony. I just... I gotta figure things out. You're good, right?

For half a moment, Tony looks like he might be honest with him. Then the mask falls into place, that smile that he tends to reserve for cameras flashed for his best friend.

TONY  
Golden.

Rhodey doesn't look entirely fooled.

RHODEY  
Right. Sure.

He starts to leave, but pauses.

RHODEY (CONT'D)  
Hey, Tony?

TONY  
Yeah?

RHODEY  
Talk to your dad? This thing... all of this? It's not good.

And then he's gone, leaving Tony alone with Jarvis.

The older man puts a comforting hand on his shoulder.

JARVIS  
Let's go home.

Tony nods wordlessly, letting himself be led out.

INT. STARK MANOR - NIGHT

Maria Stark sits on the couch, an old photo album in her lap and a glass of wine in her hand. She thumbs through it, photos of happier times making her smile. Tony and Howard focused in on an engine, covered and grease and smiling. She and Tony at Parent's Day on campus for the boarding school he attended. The three of them on vacation in Colorado. The smile tugs wider, but somehow she still manages to look a little more saddened as she sips at her drink.

The sound of the door opening startles her and the wine glass slips from her hand, the drink escaping across the laminated pages.

MARIA  
Dammit.

She scurries to clean it up.

Tony enters from behind.

TONY  
Where is he?

Maria looks up.

MARIA  
Tony, sweetheart -

TONY  
Where the hell is he?

She flinches back just a little at her son's tone.

MARIA  
His office.

Tony disappears out of the room, Jarvis following into it.

MARIA (CONT'D)  
Edwin. Is it so bad?

JARVIS  
He's hurt. He doesn't want to show it, but he is.

MARIA  
I should have gone.

JARVIS  
I'm not sure that would have done much good in the end.

There's a half a beat of shock before Maria looks offended.

MARIA  
He's my son. Of course it would have been better.

JARVIS  
Neither of us were the ones that he needed to show up tonight.

Maria's gaze follows to where Tony disappeared.

INT. STARK MANOR - HOWARD'S STUDY - NIGHT

Howard sits at his desk, multiple files open in front of him. He brought the bottle of scotch into the study after his fight with Maria, and it's clear he's been doing his best to put a dent in it since then.

The door jolts, like someone is trying to open it. It's locked, and a fist pounds hard against the outside.

TONY (O.C.)  
Open the damn door!

Howard sighs heavily.

HOWARD  
We're not having this conversation tonight.

TONY (O.C.)  
Like hell we're not!

He's not going away. That much is clear. Howard looses a low growl and stands, dangerously close to tipping his glass. He crosses over to the door and opens it.  
His son stands on the other side, all teenage angst showing in those expressive brown eyes. He looks ready to explode.

TONY (CONT'D)  
What's WRONG with you?!

HOWARD  
With me? I didn't steal a plane.

He saunters back to his desk and his drink.

TONY  
You've never had a problem with me taking it before.

HOWARD  
You know you need to clear it before you fly internationally. This isn't news, Tony.

TONY  
It was a concert, Howard.

The use of his given name nearly makes Howard flinch. He busies himself so that he doesn't have to meet Tony's eyes.

HOWARD  
It was in London. Contrary to what you seem to believe, there are consequences to your actions.

TONY  
Yeah, because you reported the damn thing STOLEN and had Rhodey and me held like we were gonna be arrested or something.

That snaps his gaze up.

HOWARD  
You broke the rules. Your friend's lucky that he has a bright future ahead of him.

I wouldn't risk that. You, on the other hand, put a target on it without a second thought.

You hijacked a plane, fled security, and entered a sovereign country

all without proper documentation. That's on you, Tony. Grow up and own up to it.

He turns back to his papers.

HOWARD (CONT'D)  
This conversation is over.

Tony stands there for a moment, his expression hurt and torn. He wants to yell and scream and curse. He wants to run and hide.

TONY  
I guess it sucks for you, doesn't it?

HOWARD  
What?

TONY  
Being stuck with me as your son.

Tony turns, leaving Howard alone in his office. The older Stark remains frozen in place until his son is gone. A beat passes. Then another, and finally we see the smallest cracks in the armor. The words hurt. He just doesn't know how to react.

MARIA (O.C.)  
You're going to lose him.

He looks up to his wife standing in the doorway and swallows hard. Steeling himself.

HOWARD  
(forced)  
He has to learn, Maria.

MARIA  
He just needs you to love him. That's it. No more, no less. And the fact that you can't show him that you do is going to cost you.

INT. STARK MANOR - DEN - NIGHT

Tony moves through towards the liquor cabinet. The anger is losing way to the pain as the needle on a turntable touches down, Bohemian Rhapsody playing over the last scenes...

INT. RHODES HOUSE - NIGHT

Rhodey gets home. He's exhausted. Beaten down.

ELIZABETH  
Jim? How was your trip. How was -?

RHODEY  
Tell you 'bout it in the morning, Liz.

His bedroom door closes behind him and he collapses against his bed.

INT. CARTER-SOUSA HOUSEHOLD - NIGHT

Daniel sits at the kitchen table, a medical file open in front of him. The prognosis isn't encouraging.

The front door opens and he flips the file closed, stuffing it in a bag at his feet and focusing on a cup of tea as Peggy enters, circling to touch his shoulders. He relaxes into it.

PEGGY  
I'm so sorry.

DANIEL  
Don't be.

PEGGY  
What did Raymond say?

Daniel pauses for half a moment before forcing a smile.

DANIEL  
Dodged a bullet.

Peggy's visibly relieved.

PEGGY  
Best news I've heard all day.

She leans in for a kiss.

INT. STARK MANOR - DEN - NIGHT

Tony looks at the contents of the liquor cabinet thoughtfully, weighing the decision. His father wants him to grow up? To be more like him? Fine. He can do that.  
He grabs a bottle, pops the top off, and pours a himself a drink as Freddie Mercury sings out -

I don't wanna die, but sometimes I wish I'd never been born at all...

FADE TO BLACK.

**END EPISODE**

* * *

Notes: This was such a fun little project. Combining some of my favourite MCU storylines along with Queen and scriptwriting was a blast. I hope you guys enjoyed it.

Not sure what I'll be working on fanfiction-wise. I've been pretty focused on a new(ish) pilot project the last couple of months and between that, work, and the worldwide chaos right now I've been running nonstop. I hope you and yours stay safe and healthy.3


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